2. Lighting on Location
One location, the simple job of lighting is complicated
by a large amount of light that already exists, provided
by many sources.
At the wrong place, from the wrong angle, of the wrong
quantity, and probably of the wrong colour!
Limited to the items that can be transported, supported,
and supplied with power.
3. Lighting on Location
With increasing equipment portability, and the need for
reality, more productions now include sections that
have to be shot away from the studio.
Not only will you have too much light, you may also
have too little lighting tools.
Treat them as separate issues / problems so as to
address them properly.
4. Lighting Outdoor
Soft or hard, cloudy or sunny,
daylight tends to come in
large quantities, and comes in
horizontally.
If you can’t remove it, align
the camera and subject so the
lighting direction is helpful
rather than intrusive.
The most common approach is to think of the sun as
your key light, and where it should come from.
5. Lighting Outdoor
Sunshine gives hard
shadows, which if they’re not
in the right position for the
shot, can be intrusive.
Adding diffusion between the
sun and the subject can
soften the sunlight.
6. Lighting Outdoor
Use a reflector to reflect the
natural key light.
This fills in the shadow created
by the light source.
You can also use anything with
a reflective surface, e.g.
Styrofoam, white board.
7. Lighting Indoor
The most common issue is
when an external window is in
the shot.
The large difference in light
levels between the room and
the outside view makes it
difficult to find the correct
exposure.
Add more light to the room, or
Reduce light from the window
8. Lighting Indoor
Add more light to the room
Any extra light you can
shine on the subject will
decrease the contrast ratio
between them and the
window.
Reflectors can be used if
appropriate.
Cheat method – switch on the room lighting, though this
can introduce problems such as clashing colour
temperatures or harsh downward shadows.
9. Lighting Indoor
Reduce light from the window
Tape black scrim (a fine mesh
material) onto the window.
You can see that the
background is more
manageable through the scrim.
If the entire window is in the shot, you need to be careful
and discreet with the scrim and find the right fit to the
window.
It is easier if only part of the window is in shot.
10. Planning for Lighting
As with everything else, organized forethought
and planning will help to achieve good lighting
results.
Here are some of the basic questions to ask
when structuring a lighting plan.
11. Questions
Is the shoot in studio or on location?
1. Will you have complete control over lighting, or will you have to
deal with ambient lighting.
How big is the acting area?
1. The size of the area to be seen on camera determines how
much light you need.
2. You need more light to illuminate a football pitch than a coffee
table top.
12. Questions
What time of year is the shoot?
1. Think of the difference between a day in July (dry season) and a
day in December (wet season).
2. The difference between Summer and Winter.
Which way is south?
1. As the day progresses, the sun travels from east to west via
south.
2. Towards dusk or dawn, there will be significant changes in the
angle and colour of light.
13. Questions
What is the weather forecast?
1. A cloudy sky gives blue diffused light.
2. A bright sun gives warm light, bright highlights, and very hard
shadows.
3. Rain creates limitless havoc.
Will there be any ambient light?
1. Not just daylight, but any kind of irremovable, uncontrollable light
that needs to be incorporated.
2. E.g. Street lamps, neon signs, etc.
14. Questions
Are there any windows?
1. Windows let in daylight – your friend or your enemy.
2. Where is it?
What power supply is available?
1. If none is available, then lighting must be battery powered
(expensive) or ambient (difficult to control).
2. If additional power is brought in (generator), then the total
capacity needs to be known so that lighting can be planned
within its limits.
